CSI: MIAMI
1X09: KILL ZONE
ORIGINAL AIR DATE ON CBS: 11/18/2002
TRANSCRIBED FROM DVD
Written by LOIS JOHNSON & MARK ISRAEL
Directed by DANIEL ATTIAS
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Do not archive this transcript without permission from the Transcriptionist.
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SUMMARY: A sniper is killing people in downtown Miami during the busiest times
of the day. The team must find him and stop him before he kills again. Megan
and Delko branch out and investigate one of the shooting bodies in the group
that doesn't appear to have the same MO as the others.
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CSI: MIAMI
1X09: KILL ZONE
==========================
COLD OPEN:
[EXT. VARIOUS MIAMI (STOCK) -- MORNING]
[EXT. VARIOUS MIAMI (STOCK) - DAY]
[EXT. VARIOUS MIAMI (STOCK) - DOWNTOWN -- DAY]
(On a busy downtown street on a day just like any other, people go about their
daily business. The street and sidewalks are bustling.)
(Two women cross the street. A man carries his travel bag and walks down the
sidewalk. A woman carries a child in her arms holding onto her red balloon
walks down the sidewalk. A man looks at the newspaper headline in the sidewalk
dispenser. Bright Skies Tours bus travels down the road.)
(Slow motion: Inside the tour bus is a group looking out at the city sights. A
blonde-haired grandmother sits at the back of the bus. Resume motion.)
(The woman carrying the child with the red balloon walks past a shop. The man
exits the photo shop and looks at his newly developed photos.)
(Another man in a light suit looks at his receipt. He stops in front of the
newspaper dispenser and puts his briefcase on the dispenser. He tucks the
yellow receipt into his inner jacket pocket.)
(A woman carrying her coffee cup spills some hot coffee on her arm and cries out
in pain.)
SECRETARY: Oh ... !
(She dabs at the coffee spill on her arm.)
(Camera refocuses on the older man in front of her.)
(Cut back to: The businessman stands in front of the newspaper dispenser, his
briefcase still on the dispenser.)
(Cut to: Bright Skies Tour Bus stops nearby.)
(The businessman looks at his PDA.)
(A silenced gunshot hits him square in the head. He falls down to the sidewalk.
Dead.)
(Women on the sidewalk scream.)
(The Secretary with the coffee cup is hit in the head and falls down to the
sidewalk. Dead.)
(The people on the sideward are confused as to what's going on.)
(The man looking through his newly developed photos is shot in the head. He
falls down to the sidewalk. Dead.)
(Women scream; people push each other aside and run for cover.)
(Gunshots are heard echoing in the panicked streets. People move for indoors
and for cover. A man grabs a woman standing out on the sidewalk and pulls her
inside.)
(The red balloon floats up in the air.)
WHITE FLASH TO:
[EXT. DOWNTOWN STREET - DAY]
(Police cars block the street. News reporters have set up their van and crew
just outside the crime scene tape in the background.)
TV REPORTER: (o.s.) There's been speculation that this police investigation
will start with one of the victims involved in an office dispute, but that has
not yet been confirmed. This much I can tell you ...
(Horatio and Calleigh pass the reporters as they approach the site. The Officer
lifts the crime scene tape for them to duck under.)
CALLEIGH: (to the officer) Thank you. (to Horatio) Can you believe it? It's
national news and we don't even know what happened. Some alpaca herdsman in
Peru knows more about our case than we do.
HORATIO: He knows what to look for, he does.
(They head over to the dead man on the sidewalk next to the newspaper
dispenser.)
(Close-up of the kill shot over the man's left eye.)
HORATIO: One over the left eye...
(They turn and take a few steps over to the woman on the sidewalk nearby.)
HORATIO: ... and one right between the eyes ...
(They spot the third body.)
HORATIO: ...and one into the right eye - (points to the areas on his own
forehead) -- boom, boom, boom-- and that's called the kill zone.
CALLEIGH: No messing around, clean and deadly.
(Det. Adell Sevilla joins them.)
DET. ADELL SEVILLA: Hey, guys. So, nobody saw a shooter. I've got seven
people that say they heard a shot.
HORATIO: One shot for all three victims?
DET. ADELL SEVILLA: Yeah, it's ridiculous -- one shot.
CALLEIGH: There's no way.
DET. ADELL SEVILLA: I also have a couple of witnesses. They say they heard a
car screech away. So we're still interviewing.
HORATIO: Keep me posted.
DET. ADELL SEVILLA: Yeah.
(Det. Adell Sevilla heads back across the street.)
CALLEIGH: So how did three people get shot in broad daylight on a busy street
and nobody sees anything?
HORATIO: Sniper.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. DOWNTOWN STREET -- DAY]
(Det. Adell Sevilla walks up to Horatio. She sighs.)
DET. ADELL SEVILLA: No two witnesses place the shot coming from the same
direction.
HORATIO: Okay, shoes ...
(He looks down at the red high-heeled shoe on the sidewalk, evidence marker #11,
that Speedle is currently photographing.)
HORATIO: Lost shoes indicate people running for their lives.
(They walk over to the first body. Alexx is just finishing up and heading for
the second body.)
DET. ADELL SEVILLA: Yeah, not these three: Jason Groves, Lou Blake, and Maya
Franklin. Jason was a stockbroker, Lou a janitor, and Maya was a secretary.
HORATIO: They work together?
DET. ADELL SEVILLA: No. So far, there hasn't been any connection or workplace
issues. You know, the press got it wrong.
HORATIO: Let's get all the surveillance video from the street -- interior and
exterior.
DET. ADELL SEVILLA: You got it.
(Det. Sevilla leaves.)
HORATIO: Alexx, how many bullets am I looking for?
(Alexx points to the first man on her left. Calleigh is standing over him
notating on a clipboard.)
ALEXX: Guy in the suit -- bullet lodged in his head. (She points to the third
man on her right where Speedle is snapping photos.) That man, same thing. And
let's see what happened to your bullet, sweetheart. Messed up your pretty
weave, that's for sure. Yeah, it went right through you. Through and through.
HORATIO: Okay. Calleigh? (Calleigh looks up from her clipboard and heads over
toward Horatio.) Let's find the third bullet. We need to triangulate.
Hopefully, we can locate the shooter's position. Speed.
(Speedle stands up and heads over toward Horatio.)
SPEEDLE: Don't these people have anything better to do?
HORATIO: Okay, all right, remember where you are. Anything catch your eye?
SPEEDLE: Not yet.
HORATIO: All right. So, let's get everything back to the lab. We need to
start the victimology and figure out why these three people got shot, okay?
SPEEDLE: Yeah.
(Speedle turns and leaves.)
CALLEIGH: (o.s.) I've got one divot over here.
(Horatio turns and walks over to Calleigh.)
CALLEIGH: Victim dropped in her tracks, bullet went through her head ... hit
here, based on the teardrop shape.
(Quick close-up of: The bullet hits the wall. End of close-up.)
CALLEIGH: Tail indicates that it traveled in this direction ...
(She finds the bullet.)
CALLEIGH: ... and maybe it's a small caliber. Looks like a .223.
HORATIO: .223. Okay, let's get the trajectory. You and I will work the
bullets. Alexx, you and I are on the bodies.
(Horatio looks up at the building nearby and sees birds flying and squawking.)
CUT TO:
[EXT. MIAMI CITY (STOCK) - DAY]
[INT. CSI - FORENSICS LAB -- DAY]
(Alexx is starting the autopsy on Maya Franklin. She takes the angle of the
bullet entry.)
ALEXX: Okay, Maya, let's see what's going on with you. Angle is downward ...
into the glabella, perforated the brain, then exited through the occipital bone.
(Up in the observation room, Horatio watches the autopsy on the computer
monitor.)
(He hits a key and measures the angle.)
HORATIO: Hmm... 20.5 degrees.
ALEXX: What were the other angles?
(Horatio hits another key on the keyboard and reads the information off the
monitor.)
HORATIO: 20.8 and downward; Mr. Groves. 20.1 downward; Mr. Blake.
ALEXX: Hard to get that shot from the ground unless the shooter's ten feet
tall.
HORATIO: Or they're in a tenth-story window.
ALEXX: Bullet entered her brain, shut down her central nervous system --
immediately fatal.
(Quick CGI POV: The bullet enters Maya Franklin's brain through her forehead.
We see tissue and little electrical sparks that shut off. End of CGI POV.
Resume to autopsy.)
ALEXX: Never felt a thing. Next best thing to going in your sleep.
(Alexx looks up and finds Horatio gone. Alexx smiles.)
CUT TO:
[INT. CSI - BALLISTICS LAB -- DAY]
(Calleigh is looking at the bullets under the scope. Horatio stands nearby.)
CALLEIGH: These are not your daddy's bullets. Normally bullets have
striations, but these don't.
HORATIO: Sabots encased in plastic.
CALLEIGH: Specialty bullets: Not illegal but also not widely available.
(Quick CGI POV: A gun is fired. The bullet sheds its plastic covering after it
is fired. End of CGI POV. Resume to present.)
HORATIO: Right -- encased in plastic to protect the bullet, making it
impossible to match it to a specific weapon, right?
CALLEIGH: This guy is thinking ahead. He does not want to get caught.
HORATIO: Maybe he's just beginning. Three dead before morning rush hour is
over.
(Horatio's phone rings.)
HORATIO: Who knows ... (He pulls the phone out of his pocket.) Excuse me. ...
What the day will bring us.
(He turns and answers his phone as he heads out.)
HORATIO: (to phone) Horatio.
CUT TO:
[INT. BRIGHT SKIES TOUR BUS (PARKED) -- DAY]
(Delko leads Horatio to the back seats of the Tour Bus.)
DELKO: ... And the rest is back here. (He points to the seat with the broken
glass and blood stain.) Sitting right there was Dee Lawrence -- 73, tourist
from Oklahoma.
(Quick flash of: The grandma sitting at the back of the bus looking out the
window. End of flash. Resume to present.)
DELKO: She was shot at 9:15 when the bus driver stopped for a bathroom break
around second near Langley.
HORATIO: Wait a minute. Did you just say Second and Langley?
DELKO: Yeah.
HORATIO: We've got a fourth victim.
(Quick flash of: [EARLIER DOWNTOWN] As the Tour Bus drives through the street,
the pedestrians are screaming and running.)
DELKO: (v.o.) The driver said he saw people running outside. He heard the
back window shatter.
(The back window shatters. Grandma, who is sitting in the back, groans and
slumps to the side in her seat.)
DELKO: (v.o.) he heard screams, he didn't know what was going on, and in a
panic, took off.
(End of flash. Resume to present.)
DELKO: He went straight to the hospital. They couldn't save her.
HORATIO: Why would he suddenly be shooting at a moving target, though?
DELKO: He missed?
HORATIO: Hmm. Not this guy. Not this guy.
(Horatio turns to leave the Tour Bus.)
CUT TO:
[INT. CSI -- LAB]
(Speedle has the various victim items on the table. Using the photos, he
matches the items with the victims. He picks up the PDA and places it next to
the correct victim.)
(He picks up the red show and moves it.)
(Several dissolves later and Speedle is nearly finished.)
(The cell phone on the table rings. Speedle stares at it.)
CUT TO:
[INT. CSI - FORENSICS LAB -- DAY]
(Horatio is back in the observation room during the autopsy of Dee Lawrence.)
ALEXX: Victim number four, the grandmother. Trajectory is upward ... into the
left ... temporal lobe.
HORATIO: Alexx, you just said upward -- 2.5 degrees upward. How is that
possible?
ALEXX: Ricochet?
(Horatio is already reaching for his phone when Calleigh walks into the
observation room.)
HORATIO: You're going to tell me that that bullet is not a sabot.
CALLEIGH: No, it's a nine millimeter.
(He dials.)
HORATIO: And that means we have two shooters: One in the sky, one on the
ground.
CALLEIGH: Then that could explain the shot that was heard at the scene.
MEGAN: (from phone) Megan Donner.
HORATIO: (to Calleigh) Could be from the nine millimeter. (to Megan on phone)
Megan, you and Eric are on a different case. Take the grandmother on the bus.
MEGAN: (from phone) You got it.
(He hangs up.)
HORATIO: We have somewhere to be.
CALLEIGH: Yeah.
CUT TO:
[EXT. DOWNTOWN - CRIME SCENE -- DAY]
(Horatio and Calleigh set up three dummies with the angles of the bullets in
them positioned where the people were shot. At the tips of the rods are laser
pointers.)
HORATIO: That's good. All right, good. These lasers should get us up close to
where these shots were taken from. You ready, Angel?
ANGEL: Yeah.
CAINE: All right ... let 'er rip.
(The officers and Calleigh each turn the lasers on. Horatio follows the beams
over to the Inter-Continental Building a few blocks away. The binoculars he
uses calculates the distance.)
HORAITO: 650 yards.
CALLEIGH: That's six and a half football fields.
HORATIO: One shot, one kill. This guy's either military traded or police.
CALLEIGH: He's marine corps, probably. They're the best snipers in the world.
HORATIO: So, that is his nest up there. Let's go find out if he left us
anything.
(Horatio and Calleigh leave.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. MIAMI CITY (STOCK) - DAY]
[EXT. INTER-CONTINENTAL BUILDING - ROOFTOP -- DAY]
(Horatio and Calleigh are on the rooftop of the Intercontinental building.)
HORATIO: The sniper taped that door shut. He didn't want the gunshots echoing
in the stairwell.
CALLEIGH: He would have had to disassemble the rifle and hide it in something
to get it up here. Maybe it was a Winchester model 70 or a Remington 700, I
don't know. Charles Whitman disguised himself as a delivery man to get up the
Texas tower and he got there, he just wheeled his guns and his ammo onto the
observation deck and killed fourteen people. He wounded 31.
(From their vantage points, Horatio looks down at the street below and sees the
dummies out in plain sight, 650+ yards away.)
HORATIO: This sniper moved to the high ground as well, didn't he?
CALLEIGH: Yeah.
HORATIO: All right, if I was a sniper, what's the first thing I would do?
CALLEIGH: You'd pick your spot. Prone position is best for shooting.
HORATIO: Right, the problem is, is this wall obscures my view of the target.
CALLEIGH: Yeah, so maybe you were kneeling.
HORATIO: And maybe I went higher. Take a look at that.
(Off to the side, they see a higher vantage point.)
(Cut to: Calleigh sets up and examines the ground.)
HORATIO: So what do you get when a six-foot-tall man lays down with a three-
foot-long rifle?
CALLEIGH: Hot flashes. But that's just me.
HORATIO: Hmm. What you get is a GSR cone.
(Quick flash of: The gun firing and the GSR leaving a mark on the ground. End
of flash. Resume to present.)
HORATIO: This is his location. This is where he shot from. This is a tough
location for exposure. You can be seen by a helicopter, any one of these
buildings ...
(Calleigh finds some fibers.)
(Extreme close-up of the fibers show bits of gravel.)
CALLEIGH: I've got burlap with gravel glued on. Camouflage.
HORATIO: Better than camouflage -- you know what that is? That's from a
homemade urban guilley suit.
(Quick flash of: The sniper is set-up on the rooftop covered by a suit.)
HORATIO: (v.o.) It's what marines wear in the desert as camouflage.
(End of flash. Resume to present.)
HORATIO: And take a look at this.
(Horatio finds a small pile of sand.)
HORATIO: This is not gunpowder.
CALLEIGH: Sand.
HORATIO: Sand. On a roof?
(Quick flash of: The sniper grabs a handful of sand to fill a sock.)
CALLEIGH: (v.o.) Yeah, it's from a sand sock.
(The sniper is set-up on the rooftop with the sand sock under the riffle.)
CALLEIGH: (v.o.) You hold it in your hand or you put it on the ground, right
underneath the muzzle, and one squeeze is enough to raise the barrel right to
the sweet spot on the target.
(The sniper squeezes the sock to raise the barrel of the gun. Some of the sand
leaks out onto the roof.)
(End of flash. Resume to present.)
CALLEIGH: This guy is scary.
(Calleigh continues to gather evidence. Horatio lowers himself back to the
rooftop.)
CUT TO:
[EXT. MIAMI CITY (STOCK) - SUNSET]
[INT. CSI - LAB -- NIGHT]
(Delko is on the phone when Speedle walks into the lab.)
DELKO: (to phone) Look, Marisol, it's not my case, okay? If you want dad to
stay home or call in sick from work you should call him yourself. You know he's
not going to listen, okay? I got to go. I have to go. I'll call you later.
Bye.
(Delko hangs up. Speedle puts additional photos out on the table.)
SPEEDLE: What's up? You talking to your sister?
DELKO: Yeah, our dad works downtown and she worries about everything. So
what's going on with the sniper case?
SPEEDLE: Well, Horatio and Calleigh found his nest and I'm on victimology.
DELKO: Find any connection?
SPEEDLE: Nothing obvious.
DELKO: That's good time to look for the un-obvious.
SPEEDLE: I'm aware of that. H. Says that to me all the time.
DELKO: You know, it's great minds ...
SPEEDLE: You're unbelievable.
DELKO: (cheerfully) I am. (He slaps Speedle on the back.) See you later.
(Delko leaves.)
CUT TO:
[INT. CSI - HALLWAY -- NIGHT]
(Delko walks through the hallway and comes upon Megan.)
DELKO: Hey, they get anything on the nine millimeter in Grandma Lawrence?
MEGAN: Show me yours, I'll show you mine.
DELKO: Nothing. No match in IBIS.
MEGAN: Ah, I've got something. Nine millimeter plus. Check it out.
(She hands the file to Delko. Inside is a close-up of the bullet from LAWRENCE,
DEE, Case #38624-A.)
MEGAN: That spec is government issue blue paint called "postal blue." One
guess what it's used on?
DELKO: Depressed mailmen.
CUT TO:
[INT. CSI - AUDIO/VISUAL LAB -- NIGHT]
(Megan, Delko and Speedle work on a computerized scenario of the bullet that
killed Dee Lawrence.)
MEGAN: The bullet that killed grandma ricocheted off a mailbox near northeast
second and Langley.
SPEEDLE: Must be this one near the southeast corner.
DELKO: Put one of those uh, chartered tour buses in the street.
MEGAN: And line up the back of the bus with the mailbox.
DELKO: Can you do a 180 to the other side?
(The computerized image turns around to show the ATM machine on the wall behind
the mail box.)
SPEEDLE: An ATM. What do ATMS have?
MEGAN: Surveillance cameras.
SPEEDLE: And what do I have? (He looks over at the stack of surveillance
tapes.) Surveillance tapes from downtown.
CUT TO:
[INT. CSI -- LAB -- NIGHT]
(Horatio is looking through the scope when Calleigh walks into the lab.)
CALLEIGH: Adhesive residue on the rooftop door was electrical tape.
HORATIO: And we got through the night without another shooting.
CALLEIGH: My mom wants me to come home to Louisiana, but I told her even Al
Qaeda couldn't make me.
HORATIO: Mm, people are starting to get nervous, which is the way he wants it.
Take a look at this and tell me what you think it is.
(He moves aside and she looks through the scope.)
[SCOPE VIEW] of a green strip of some kind of plant.
CALLEIGH: Some type of vegetation.
HORATIO: We found three of them on the roof. In terms of the guilley suit, we
were right. Made the entire thing out of this -- the burlap we found up there.
Must've taken him weeks.
CALLEIGH: Snipers are patient. They can lay in wait for days waiting for the
target. If conditions aren't right, they won't take the shot.
HORATIO: You know a lot about snipers.
CALLEIGH: I used to date one. Marine corps, special op, 38 kills. He's
retired now. He runs a rifle range about an hour away.
HORATIO: You still friends?
CALLEIGH: Yeah.
CUT TO:
[EXT. RIFLE RANGE -- DAY]
(The rifle range is busy. At the end of the row, Calleigh and Horatio fire a
couple of rifles. The Sniper Expert kneels next to them.)
HORATIO: Been a while since I fired one of these.
SNIPER EXPERT: You know your way around a gun. Sniping is different. Comes to
shooting, you can't trust just your eyes.
HORATIO: Just like a crime scene.
SNIPER EXPERT: Most people think a bullet travels in a straight line. The
actual path of a bullet is arced, like a rainbow.
(Calleigh fires.)
(Camera follows the bullet as it travels to the target.)
SNIPER EXPERT: That's the first thing your sniper has to take into account.
The next thing is the wind. See that tall grass, fifty feet ahead? Means the
wind is moving at three to five miles an hour. But at 75 feet, wind speed's
completely different. Take a look at those tall reeds. Tells you the wind is
going at five to eight miles an hour.
HORATIO: So no matter where your target is, you adjust for the wind.
SNIPER EXPERT: Kentucky windage.
CALLEIGH: In the 20/100th of a second it takes a sniper to pull the trigger he
takes one controlled breath ... and decides if conditions are right to take a
life.
(Quick flash of: The sniper on the building rooftop aims. Through the scope,
the sniper sees Maya Franklin and her coffee cup.)
HORATIO: (v.o.) You put a human being at the end of the barrel of your weapon
and you become god.
(The sniper follows a man who walks by, then pauses on Jason Groves who is
looking through his photos.)
HORATIO: (v.o.) You have all the power.
(Hold on the sniper.)
(End of flash. Resume to present.)
SNIPER EXPERT: You stay in control. The shot has to be perfect to take it.
(Horatio fires.)
WHITE FLASH TO:
[EXT. MIAMI CITY (STOCK) - DAY]
[EXT. SANTOYA RESIDENCE - FRONT PORCH - DAY]
(Megan and Det. Adell Sevilla are out front. Megan hands the file with the ATM
photo of Ray Santoya inside.)
DET. ADELL SEVILLA: We know you were downtown yesterday morning at this ATM.
You took out $40.00 at around 9:15, right before that sniper hit.
RAY SANTOYA: Yeah, I ... I hit the ground. It scared me to death.
DET. ADELL SEVILLA: Really. What'd you see?
RAY SANTOYA: Pavement, like everybody else.
DET. ADELL SEVILLA: I was talking about who was doing the shooting.
RAY SANTOYA: I didn't see anybody. Just the other people who were dying.
MEGAN: Mr. Santoya, do you own a gun?
RAY SANTOYA: A gun? No. Never. What's this all about?
MEGAN: May we come in?
RAY SANTOYA: Why?
DET. ADELL SEVILLA: We just want to talk to you.
RAY SANTOYA: So go ahead and talk.
MEGAN: All right, there was another shooting downtown yesterday. Someone
killed a 73-year-old grandmother.
DET. ADELL SEVILLA: And that someone was near the ATM the same time as you.
RAY SANTOYA: Look, I-I ... I wish could help you. (He hands the file folder
back to Megan.) I'm sorry. If you'll excuse me, I have other things to do.
I'm sorry.
(He shuts the door.)
(Megan and Adell both turn and head back to front walk.)
DET. ADELL SEVILLA: You believe that?
MEGAN: What? That he slammed the door in our faces or his story?
DET. ADELL SEVILLA: Either.
MEGAN: Neither. He's hiding something.
DET. ADELL SEVILLA: Mm-hmm.
CUT TO:
[INT. CSI - LAB -- DAY]
(Calleigh is looking through the scope and listens as Horatio talks.)
HORATIO: You're looking at Japanese Black Pine. Now, it's not indigenous to
Miami but it is commonly used to grow bonsai trees.
CALLEIGH: Our sniper has a hobby.
HORATIO: And patience - it takes twenty to thirty years to grow a bonsai tree.
I also found urine.
CALLEIGH: Probably up there all night waiting to take his shots.
HORATIO: Mm.
(Speedle bursts into the lab and heads over to the flat screen television
monitor.)
SPEEDLE: It happened again.
(He turns it on.)
TV NEWSCASTER: Police just arrived on the scene. Now, witnesses tell us one
person has been shot. There may be others, we just don't know yet. What we do
know is that the sniper has once again struck in downtown Miami.
CUT TO:
[EXT. MIAMI -- ]
(Horatio, Calleigh and Speedle head to the crime site.)
HORATIO: Second day, second shooting.
SPEEDLE: Could be unrelated. Could be a copycat.
CALLEIGH: It's the same part of town.
SPEEDLE: Yeah, but the first shooting happened in the morning. The MO's
different.
HORATIO: Is it? The only time busier than early morning is evening rush hour
when people are trying to get home.
SPEEDLE: Or get a quick bite to eat.
(They arrive at the first body slumped against a vendor. Adell joins them.)
DET. ADELL SEVILLA: Michael Corday, 39. Professor at Miami-Dade Community
College, had a wife and three kids and no one heard any shots. He just bought a
hot dog and fell over dead. Director's ready to have a stroke. He wants to
call in the feds.
HORATIO: Two shootings, two days, four victims -- this guy's on a spree.
DET. ADELL SEVILLA: Can we place him on a building?
CALLEIGH: Not with just one bullet, but I can approximate distance.
DE. ADELL SEVILLA: So the only evidence we have are bullets we can't use and
strips of a homemade guilley suit.
HORATIO: Let's not forget the sand and the bonsai needles. The further the
evidence takes us away from the crime scene, the greater the chance he'll let
down his guard. And that's when we'll get him.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. MIAMI (STOCK) - DAY]
[INT. CSI - HALLWAY -- DAY]
(Horatio meets up with Speedle in the hallway.)
HORATIO: Speed.
SPEEDLE: So, betonanything[dot]Com posted three-to-one odds that he's going to
shoot again monday morning.
HORATIO: Sounds like a good bet.
SPEEDLE: Ten-to-one odds that he's going to shoot in a different location.
HORATIO: Okay, but he is shooting people downtown for a reason.
SPEEDLE: Well, you know, Delko's dad works downtown and his sister doesn't want
him to go to work. What do you think the odds are, realistically, that we're
going to find this guy before somebody else gets killed?
HORATIO: I don't know. But if this guy gets us to change the way we do our
jobs, then those odds are going to go up. (Speedle nods.) So let's not do
that, okay?
SPEEDLE: All right.
(Speedle turns and leaves.)
HORATIO: Hang in there.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Delko and Megan go over the ATM surveillance tapes frame by frame.)
MEGAN: He's lying. About what, I don't know.
DELKO: So what do we know?
MEGAN: That, at 9:15, Ray Santoya was at the ATM.
DELKO: And so, the question is: What was he doing at 9:16?
MEGAN: Shooting the nine-millimeter at something. Maybe he saw the sniper.
DELKO: Or was working with him.
(The monitor advances two frames.)
MEGAN: Wait. Go back one.
(Delko goes back a frame.)
DELKO: What do you see?
(Megan leans in closer to the monitor.)
MEGAN: Bring his face up full screen.
DELKO: His glasses.
MEGAN: There's a reflection.
(Delko enhances and clears the image. It's a jacket with a logo on it.)
DELKO: It's the Nuevitas baseball team. That's their logo.
MEGAN: And he's talking to whoever's wearing that jacket.
DELKO: We may have a witness.
MEGAN: To both shootings.
CUT TO:
[EXT. SANTOYA RESIDENCE - FRONT PORCH -- DAY]
(Det. Adell Sevilla knocks on the front door. Megan is with her. Gustavo
Santoya answers the door. He's wearing a yellow Nuevitas baseball jacket.)
GUSTAVO SANTOYA: Uh ... can I help you?
DET. ADELL SEVILLA: Yeah. Uh, we're looking for Ray Santoya.
GUSTAVO SANTOYA: He's not here.
(Megan notices the residue on Gustavo's jacket sleeve. Adell shows him her
badge.)
DET. ADELL SEVILLA: Miami Dade Police. Can we come in?
GUSTAVO SANTOYA: (nods) Sure. (He steps aside for them.) Yes.
MEGAN: Thank you.
(They walk into the house.)
[INT. SANTOYA RESIDENCE - LIVING ROOM - DAY - CONTINUOUS]
ADELL SEVILLA: And you are?
GUSTAVO SANTOYA: Gustavo Santoya.
ADELL SEVILLA: Gustavo?
(Ray Santoya walks through the hallway and is headed toward them.)
RAY SANTOYA: What's going on?
MEGAN: We need to ask you and your son some questions.
RAY SANTOYA: What about?
(Megan puts her gloves on.)
MEGAN: Do you mind if I take a look at that jacket?
(Megan steps forward.)
RAY SANTOYA: (alarmed) Wait a minute, what for?
MEGAN: Right here.
(Megan takes his sleeve and sprays on it.)
GUSTAVO SANTOYA: What the hell are you doing?
ADELL SEVILLA: Don't worry. It's waterproof.
(Megan sprays testing for GSR and the jacket turns blue.)
MEGAN: But not GSR-proof.
ADELL SEVILLA: Remove your jacket, please.
RAY SANTOYA: No, no, it-it's not his. It's mine.
GUSTAVO SANTOYA: Father ...
RAY SANTOYA: I was wearing it.
GUSTAVO SANTOYA: Don't do this.
RAY SANTOYA: It was me. I was there. Nobody else. And not my son.
(Megan nods. She turns back to look at Adell.)
SHORT TIME CUT TO:
[INT. SANTOYA RESIDENCE
(Megan and Adell question Gustavo. Ray sits at the table in the back and an
Officer stands nearby.)
GUSTAVO SANTOYA: I swear on my mother's grave, no lo sabia. I didn't know.
People were ... (He glances behind him.) Yo crei que veia al que disparava.
MEGAN: You thought you saw the sniper?
GUSTAVO SANTOYA: No, not the sniper.
DET. ADELL SEVILLA: Then who?
(Quick flashback to: The whizzing sound of a bullet and Maya Franklin falls to
the sidewalk. People start running and screaming.)
(Gustavo turns and sees a black car full of kids.)
GUSTAVO: (v.o.) The car was full of callejeros ... street kids.
(He pulls out his gun, aims and fires. Ray grabs the gun from Gustavo.)
(End of flashback. Resume to present.)
GUSTAVO SANTOYA: I thought I saw a gun. El tenia una pistola negra. A black
gun -- he was holding it. I swear to you. I didn't see any woman in the car.
Solo los cuatro muchachos. The four boys were laughing ... at the people dying.
MEGAN: Well, you didn't see her because she wasn't in the car.
(Quick flash to: The gun fires. The bullet hits the edge of the mail box and
shatters the bus glass, hitting Dee Lawrence inside. She groans and slumps to
the side.)
(End of flashback. Resume to present.)
GUSTAVO SANTOYA: Tell her family I'm sorry. I was trying to protect my father.
MEGAN: All right.
(The officer steps forward and takes out the cuffs.)
OFFICER: Okay, get up.
(The officer cuffs Gustavo. Ray hugs his son.)
CUT TO:
[EXT. VARIOUS MIAMI CITY (STOCK) - DAY]
(Overlapping news announcements over the stock scenery shots.)
RADIO ANNOUNCER 1 (MAN): (v.o.) Four dead in the so-called Miami sniper ...
RADIO ANNOUNCER 2 (WOMAN): (v.o.) ... four shootings, so far, have been linked
to the sniper.
RADIO ANNOUNCER 3 (MAN): (v.o.) A car backfired earlier today, causing panic
in downtown Miami ...
RADIO ANNOUNCER 4 (WOMAN): (v.o.) ... worried parents are keeping their
children home from school...
RADIO ANNOUNCER 5 (MAN): (v.o.) ... the special bullet is designed to prevent
the authorities from tracking...
RADIO ANNOUNCER 6 (WOMAN): (v.o.) ...some people say they can't trust...
RADIO ANNOUNCER 7 (MAN): (v.o.) So far, all victims have been shot during rush
hour.
CUT TO:
[INT. CSI - FORENSICS LAB]
(All the victims are lined up in a row on gurneys. Alexx wheels in the latest
victim.)
(She turns and leaves the room.)
CUT TO:
[INT. CSI - LAB]
(Horatio processes some evidence. He puts it in the mass spec and waits for the
results.)
CUT TO:
[INT. CSI - FIRING RANGE]
(In the tray, Calleigh has three bullets each of various grains: 28 grain, 21
grain, 14 grain and 7 grain.)
(She picks up a 7 grain bullet and puts it in a rifle. She loads IT. She
places the rifle down and fires the bullet into a gelatin block.)
(Quick CGI of: The bullet exits the muzzle of the rifle, sheds its plastic
shell and hits the gelatin block. End of CGI. Resume to present.)
(Calleigh takes off her goggles and ear phones. She takes her clipboard and
checks the reading:
SHOTS 1
rE 2.0F
2807
(She walks over to the block and notes where the bullet is. She measures it.)
CUT TO:
[INT. CSI - LAB]
(Speedle is in the lab reviewing more video footage from the dry cleaners. He
enhances the image of the business man, Jason Groves, in the dry cleaners.)
CUT TO:
[INT. CSI -- LAB]
(Horatio is looking through the scope when Speedle walks in.)
SPEEDLE: So far, I've confirmed our businessman was inside the dry cleaners two
minutes before all hell broke loose.
HORATIO: Good. Good. Confirm this for me.
(Horatio steps aside as Speedle looks through the scope.)
HORATIO: The sand on the right is...?
[SCOPE VIEW] of two different grains of sand.
SPEEDLE: Is ... a mixture of calcifying green algae and brown swiss cheese-
looking grains uniform in size.
HORATIO: Likely from erosion?
SLEEDLE: Beach sand.
HORATIO: Sand on the left? Found traces of this on the roof, in the sniper's
nest.
SPEEDLE: Gastropods-snails -- and football-shaped grains of benthic
foraminifier.
HORATIO: Mmm, but not homologous. I'm thinking from a quarry.
SPEEDLE: I'm thinking you're right.
CUT TO:
[INT. CSI - HALLWAY -- DAY]
(Horatio and Calleigh walk through the hallway.)
CALLEIGH: Based on the penetration test -- I used a gelatin block to
reconstruct the human tissue -- the shooter was 975 yards away.
HORATIO: You're kidding.
CALLEIGH: Give or take a yard or two.
HORATIO: Six hundred and fifty yards for the first shot, 975 for the second.
CALLEIGH: He was showing off.
HORATIO: Maybe he's making a sport of it.
CUT TO:
[INT. CSI - LAB -- DAY]
(Horatio and Calleigh look at the map of the area on the monitor. Horatio looks
through the file.)
HORATIO: The sand in the shooter's sand sock is coral.
CALLEIGH: So he practices shooting in a coral quarry.
HORATIO: Right. Which would give him the distance he needs. Now, these three
locations are all abandoned.
(Horatio highlights three areas:
Class: Quarry (Coral)
Target: [387.039.2]
Loc: 24,176 (H-1)
Class: Quarry (Coral)
Target: [109.409.5]
Loc: 02,45 (B-6)
Class: Quarry (Coral)
Target: [223.984.09]
Loc: 90,89 (D-0)
CALLEIGH: Gives him the isolation he wants. So you want to look at all three?
HORATIO: Don't need to. Take a look at that.
(Horatio hands her a Miami Dade Police Department Trace Analysis Report for a
Fluid Analysis. Findings: Jet Fuel.)
CALLEIGH: Jet fuel.
HORATIO: Jet fuel and coral. Now watch this.
(Only one Coral Quarry remains.)
HORATIO: There you go like giving us directions.
CUT TO:
[EXT. MIAMI INTERNATIONAL AIRPORT (STOCK) - DAY]
(An airplane flies overhead.)
[INT. CORAL QUARRY -- DAY]
(Horatio grabs a handful of sand. The same kind of sand found at the rooftop.
He hears a car door slam shut.)
(Calleigh walks toward him with her kit. Another airplane flies overhead.)
HORATIO: Natural sound cover.
CALLEIGH: The perfect place to keep your rifle on.
HORATIO: So if I was him ... where would I shoot from?
(They both look around the area.)
CALLEIGH: Well, he needs distance.
HORATIO: Because he's a long-range shooter, right?
(Horatio uses the binoculars to look for a place to shoot that meets the
criteria. He finds it about 650 yards away.)
(Quick flash to: He imagines the sniper with his rifle. He takes aim and
squeezes the trigger. End of flash. Resume to present.)
(Horatio looks around the area.)
HORATIO: Nothing moves here.
(He sees a single pole with a red flag tied to the top of it.)
HORATIO: Take a look at this.
(He hands the binoculars to Calleigh.)
HORATIO: That flag is how he judges the wind. So if he's shooting from there
... Where does the bullet end up?
(Horatio turns and heads for possible target sites. Calleigh heads toward the
shooting site.)
(Horatio puts his gloves on. He finds the target.)
(Calleigh dusts the metal pole with the red flag.)
(Horatio sticks his hand in the sand between the two poles.)
(Calleigh finds a print.)
(In the sand, Horatio finds a bullet. He stands up and turns around.)
(Calleigh tape lifts the print off and signals to Horatio that she found it.)
(Horatio smiles.)
CUT TO:
[INT. CSI - PRINT LAB]
(Calleigh runs the print through the database and finds a match.)
CUT TO:
[EXT. MIAMI (STOCK) -- DAY]
CALLEIGH: (v.o.) Christopher Harwood, 42, ex-marine corps special ops.
CUT TO:
[INT. HARWOOD RESIDENCE -- DAY]
(Horatio looks a the photos on the mantle. The living room is sparse with only
a filled rifle rack in the center. Lining the walls are numerous bonsai trees
on matching stands. Calleigh stands at his work table taking photos of the
trees.)
HORATIO: His world and welcome to it. Everything's in perfect order.
CALLEIGH: He's trying to control his environment the way he wants to control
us.
(Horatio sees a file cabinet.)
HORATIO: Firearm data cards.
CALLEIGH: There must be 20,000. He's recorded every shot he's ever taken.
HORATIO: Or planning to. This one was dated this morning.
(Calleigh looks at the card. She flips the card over and notices the smudges on
the back.)
CALLEIGH: That could be residue.
HORATIO: Mm-hmm.
CALLEIGH: He's been on another rooftop since taking out his latest victim.
This could tell us where he's been.
HORATIO: Or where he is right now.
CUT TO:
[EXT. MIAMI CITY LIGHTS (STOCK) -- NIGHT]
[INT. CSI - A/V LAB]
(Speedle shows Horatio his findings from the security video of the three shops
the shooting victims last visited before they died.)
SPEEDLE: I matched the dry cleaning receipt to our Stockbroker Jason Groves,
screen on the left. He stops in to drop off his wife's blouse and two pairs of
pants.
HORATIO: Okay.
SPEEDLE: Screen on the right is Lou Blake, janitor. He's picking up some
pictures of his dogs. I hope somebody's feeding them. In the center, Maya
Franklin, secretary. She stops at Dade sugar and spice, 9:09. Stands in line
five minutes and 23 seconds. Three total strangers just living their lives.
HORATIO: What about our fourth victim?
SPEEDLE: On the cell phone, eating a hot dog, talking to his wife.
HORATIO: Okay ... one-hour photo shop one-hour dry cleaners, coffee shop, fast
food. Is that our theme?
SPEEDLE: They were all in a hurry.
HORATIO: Mm-hmm, is that it?
SPEEDLE: That was it for them.
(Horatio glances at his watch.)
HORATIO: Five hours to rush hour.
(He turns and leaves.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS MIAMI CITY (STOCK) - DAY]
[INT. CSI -- LAB]
(Horatio is studying the shooting index card. Speedle stands next to him.)
HORATIO: Let's find out what this residue is made of.
(Horatio takes a sample and hands it to Speedle.)
HORATIO: Three hours till downtown becomes one big living target. Keep me
posted.
(Horatio leaves. Speedle continues to process the substance.)
CUT TO:
[INT. CSI - HALLWAY TO LAB -- DAY]
(Speedle reports to Horatio on their way to the lab. )
SPEEDLE: The substance on the back of the data card was a hardcore adhesive
called rt600. It was only used two years after Hurricane Andrew.
HORATIO: To prevent rooftops from going airborne in case of another hurricane.
SPEEDLE: Now, I've narrowed it down to three buildings.
HORATIO: We've got to get it down to one. (They enter the lab. Calleigh is
there sitting at the table.) Okay ... here's what we need to do. We've got to
outhunt the hunter.
CALLEIGH: Where do we start?
(Quick flash to: The sniper walks up to the rooftop.)
HORATIO: (v.o.) Where he did. He climbed up to the roof of the hotel ... he'd
been preparing for a long time.
(The sniper gets his things and changes.)
HORATIO: (v.o.) He changed into his guilley suit ... assembled his weapon ...
... scope last.
CALLEIGH: (v.o.) Climbs even higher ... gets into position ...
(End of flashback. Resume to present.)
CALLEIGH: He waited for the right conditions.
HORATIO: Then his targets were irrelevant because the people that he killed
were picked at random. Meaning he picked spots ... and not victims.
(Quick flashes of: The shop names down on the street below.)
HORATIO: (v.o.) Once he hunkered down ...
(Time lapses from day to night to day.)
HORATIO: (v.o.) ... he was up there all night, dry firing.
(He fires air.)
HORATIO: (v.o.) ... he didn't eat, he didn't move -- not for any reason.
(The sniper urinates without moving.) He waited for as long as it took.
CALLEIGH: (v.o.) And he didn't take the shot until conditions were perfect.
(End of flashback. Resume to present.)
CALLEIGH: Like a skier visualizing a hill before the race starts.
HORATIO: Because he was waiting for his puzzle to be complete.
(Quick flashback to: The sniper measures the wind by the nearby flag.)
CALLEIGH: (v.o.) He used a flag or a tree to gauge the wind.
HORATIO: (v.o.) But it didn't matter how long he waited ...
(End of flashback. Resume to present.)
HORATIO: ... because as soon as those pieces fell together he'd be ready.
CALLEIGH: To take three shots.
(Quick flashback to: [SCOPE VIEW] The sniper sees the red balloon and the
woman carrying the child. He sees Jason Groves, the businessman.)
(He sees Maya Franklin, the secretary.)
(He sees a woman, then he sees Lou Blake, the janitor.)
(He sees that the flag has pauses for a moment. He grins. He finds his first
target and squeezes the trigger.)
(A gun fires.)
(He discards the shell.)
(He finds Maya Franklin and fires.)
(He discards the shell and finds Lou Blake. He fires.)
(End of flashback. Resume to present.)
(Horatio picks up the metal pole with the red flag attached to it.)
HORATIO: And the answer, my friend ... is blowin' in the wind.
CUT TO:
[INT. CSI - A/V LAB -- DAY]
(Speedle is working on the map of the various buildings downtown trying to
narrow down the locations to one possible. Horatio walks into the lab.)
HORATIO: Speed ... what do you got?
SPEEDLE: Of the three buildings that used rt600 after Hurricane Andrew only one
has not been re-roofed narrowing it down to this one. Now, these are satellite
photos taken from the past 72 hours. He hasn't been there.
HORATIO: Okay, but this guy is a chameleon. He could blend into a side of
beef. Why this building?
SPEEDLE: These are lines of sight from the building to surrounding areas.
(Speedle changes it from the satellite photos to a three dimensional computer
graphic imaging map of the area.)
HORATIO: Let's turn it 180 degrees, please.
(He moves the camera view around the buildings from the single vantage point.)
HORATIO: All industrial. Okay, now shift 90 degrees west.
(The images shift over.)
HORATIO: Targets everywhere. Okay, now, there's a high-traffic area in the
upper left quadrant. Highlight that, please.
(Speedle sighs.)
HORATIO: Now let's check the line of sight.
(Speedle finds a spot and draws a line of sight in red from the roof top to the
area below.)
HORATIO: That's his kind of spot. Lots of people walking into it.
SPEEDLE: Yeah, but that's got to be over 800 yards away.
HORATIO: Mm-hmm. Get Eric up in the chopper, Speed.
(Horatio turns and leaves the lab.)
CUT TO:
[EXT. MIAMI CITY - DOWNTOWN - DAY]
PILOT: (over radio) Air seven, air seven, approaching location.
CUT TO:
[EXT. DOWNTOWN - COURTYARD - DAY -- CONTINUOUS]
(The people below notice the helicopter flying overhead.)
(Delko is in the helicopter and hovers above the potential target area.)
DELKO: (over radio) Okay, H, I'm in position to scramble the wind condition.
HORATIO: (over radio) Copy that, Eric. Stay in position.
(The people in the courtyard below scramble out of the way.)
(Down below, Police cars and the CSI vehicle approach the area. The officer
cars' sirens blare. They stop. The officers rush to get the people to safety.)
(Horatio exits the car. He looks up at the buildings above.)
HORATIO: (shouts to radio) Calleigh. Calleigh, where are you?
CALLEIGH: (from radio) I'm with SWAT, heading upstairs.
HORATIO: Okay, you'll be my eyes and ears. (shouts) Ladies and gentlemen,
there's a sniper in the vicinity. I need everyone to leave the area now! (to
the officer) Officer, listen, I need a 360 quarter-mile perimeter clear!
OFFICER: You got it.
HORATIO: (to Delko) Eric, speak to me. (to the woman sitting at the table)
Ma'am-- can't be here.
(Up on the rooftop, the sniper has Horatio in his scope.)
DELKO: (from radio) Horatio, you're right in the line of fire.
(Horatio looks up at the building above.)
HORATIO: (to radio) Okay, listen up! This guy is one shot, one kill. If he
can't make it, he's not going to take it. Eric, the wind from the chopper ruins
his shot.
(Up on the rooftop, the sniper waits.)
CALLEIGH: (from radio) SWAT has him in sight.
HORATIO: (to radio) I need to know if this is all-clear. I need confirmation,
Calleigh.
(The sniper has Horatio in his scope. He sees Horatio looking up at him. It's
as if they're looking at each other. Still, the sniper doesn't take the shot.)
(From behind him, SWAT approaches the sniper from behind.)
SWAT: Release your weapon!
(SWAT pushes down on the sniper's back. The sniper lets the weapon go.)
SWAT: Turn it over!
(SWAT forces the sniper over. Four muzzles are pointed at the sniper's face.)
CALLEIGH: (from radio) Code four, code four. Sniper has been apprehended.
The sniper has been apprehended. We have him in custody.
(Horatio puts the radio down. He turns to Delko and signals that it's okay.)
(The Police helicopter leaves the area.)
CUT TO:
[EXT. MIAMI CITY (STOCK) - DOWNTOWN - DAY]
[INT. BUILDING LOBBY -- DAY]
(Horatio walks up to Calleigh who is walking behind SWAT. She's carrying the
guilly suit. Horatio takes his glasses off and walks up to her.)
HORATIO: Nice work. Have you considered a transfer to SWAT?
CALLEIGH: I don't look good in all black.
HORATIO: I beg to differ.
(Calleigh shakes her head and leaves. Behind her, SWAT appears accompanying the
sniper in hand cuffs.)
(They stop in front of Horatio. Horatio doesn't say anything.)
CHRISTOPHER HARWOOD: Don't you want to know why?
HORATIO: You just killed four innocent people. You're evil. You enjoy death.
I hope you enjoy your own. Take him.
(SWAT takes Christopher Harwood away. Horatio turns around and watches the
officers put Harwood in the back of their car.)
(Satisfied, Horatio leaves.)
CUT TO:
[EXT. -- DAY]
(Slow motion camera holds on the police helicopter as it flies overhead.)
(Dissolve to: Slow motion camera on Horatio as he walks down the sidewalk in
busy downtown Miami. There are a lot of other pedestrians walking with him.)
(He slips his sunglasses on and continues on his way..
FADE TO BLACK.
==========================
THE END
==========================
[Captioning Sponsored by CBS and CSI Productions Captioned by Media Access Group
at WGBH access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Do not archive this transcript without permission from the Transcriptionist.
==========================
TITLE/OPENING CREDITS
==========================
CSI: MIAMI
1X09: KILL ZONE
ORIGINAL AIR DATE ON CBS: 11/18/2002
TRANSCRIBED FROM DVD
Starring:
DAVID CARUSO as Horatio Caine
EMILY PROCTER as Calleigh Duquesne
ADAM RODRIGUEZ as Eric Delko
KHANDI ALEXANDER as Alexx Woods
with
RORY COCHRANE as Tim Speedle
and
KIM DELANEY as Megan Donner
Created by ANTHONY E. ZUIKER, ANN DONAHUE, CAROL MENDELSOHN
Starring
WANDA DE JESUS as Det. Adell Sevilla
MARKUS FLANAGAN as Sniper Expert
SHAWN ELLIOTT as Ray Santoya
Music Composed by: GRAEME REVELL
Edited by JOHN REFOUA, A.C.E.
Production Designer: CAROLS BARBOSA
Director of Photography: MICHAEL D. O'SHEA, A.S.C.
Co-Producer: FRANK BALLOU
Co-Producer: BRUCE GOLIN
Co-Producer: LOIS JOHNSON
Co-Producer: STEVEN MAEDA
Consulting Producer: MARK ISRAEL
Consulting Producer: ELIZABETH DEVINE
Co-Executive Producer: LAURIE McCARTHY
Co-Executive Producer: DANNY CANNON
Co-Executive Producer: SAM STRANGIS
Executive Producer: JONATHAN LITTMAN
Executive Producer: NANCY MILLER
Written by LOIS JOHNSON & MARK ISRAEL
Directed by DANIEL ATTIAS
==========================
END CREDITS
==========================
Executive Producer: JERRY BRUCKHEIMER
Executive Producer: ANTHONY E. ZUIKER
Executive Producer: CAROL MENDELSOHN
Executive Producer: ANN DONAHUE
JERRY BRUCKHEIMER Television
Alliance Atlantis Productions Inc.
CBS Productions, Inc.
Co-Starring
RAFAEL SARDINA as Gustavo Santoya
NELSON PEREZ as Christopher Harwood
NANCY DUERR as Reporter #1
KATHLEEN CORSO as Reporter #2
EDDIE J. FERNANDEZ as Jason Groves
DAVID D. RENAUD as Lou Blake
CLAUDETTE JAMES as Mary Franklin
KAYE WADE as Dee Lawrence
Line Producer: JEAN HIGGINS
Associate Producer: GINA LAMAR
Casting by: RICK MILLIKAN, C.S.A.
Original Casting by: ROBERT ULRICH, C.S.A., ERIC DAWSON, C.S.A., CAROL KRITZER,
C.S.A.
Story Editor: GWENDOLYN PARKER
Unit Production Manager: JEAN HIGGINS
First Assistant Director: CRAIG WEST
Second Assistant Directors: NANCY VAN DOREN
Costume Designer: CYNTHIA BERGSTROM
Forensics Consultant: JOHN HAYNES
Production Sound Mixers: MARK WEBER / DONOVAN DEAR
Special Make-Up Effects: MATTHEW W. MUNGLE / LEE GRIMES
Location Manager: MICHELLE LATHAM / CHRISTINA LABUZETTA
Script Supervisor: CLAUDIA YARMY
Art Directors: TIM BEACH
Set Decorator: DANIELLE BERMAN / REGINA MCLARNEY
Construction Coordinator: JOHN KERSEY / MICHAEL EDLING
Special Effects Coordinators: MICHAEL DOYLE / FRANK CEGLIA
Key Grip: GREG KASPER / RANDY TAMBLING
Stunt Coordinator: ARTIE MALESCI
Gaffer: JACK SCHLOSSER
Transportation Coordinator: DON RIENZO / BOB CAWLEY
2ND Unit: SCOTT LAUTANEN / MICHAEL PHIRMAN
2ND 2ND Assistant Directors: KELLIE JO TACKETT / MARTEN PICCININI
Key Make-Up Artist: PEGGY TEAGUE
Ms. Delaney's Make-Up: STEPHANIE FOWLER
Key Hairstylist: YVONNE DE PATIS-KUPKA
Costume Supervisor: SUZANNE BANNITT-HAINES
Property Master: MIKE SEXTON
Colorist: GARETH COOK
Supervising Sound Editor: MATTHEW SAWELSON
Music Supervisor: JASON ALEXANDER
Assistant Editor: EDWARD R. ABROMS
Post Production Supervisor: MICKIE REUSTER
Loop Group: THE REEL TEAM
Dialogue Editor: TODD NIESEN
ADR Editor: RUTH ADELMAN
Sound Effects Editor: BRAD KATONA
Re-Recording Mixers: YURI REESE / BILL SMITH
Music Editor: ASHLEY REVELL
Visual Effects Supervisors: LARRY DETWILER / MARC LEIDY
Digital Effects by STARGATE DIGITAL
Computer Playback and Graphics by E=MC2
High Definition Post Production by ENCORE
Film Laboratories by FOTOKEM
Post Production Sound Provided by TODD STUDIOS
Filmed at EL SEGUNDO STUDIOS
"Won't Get Fooled Again"
by Pete Townshend
Performed by The Who
The persons and events portrayed in this film are fictitious. Any similarity to
actual persons, living or dead, or any events is unintentional.
(c) 2002 CBS Worldwide Inc., and Alliance Atlantis Productions, Inc. All Rights
Reserved.
CBS Broadcasting Inc, and Alliance Atlantis Productions Inc, are the authors of
this program for the purposes of copyright and other laws.
Dated:08/29/2004~lky
http://www.webphilia.com/~anthology/wnp.htm